The exhibition after nature, (chapter 2) presents the deep and multilayered artistic research of Bilyana Furnadzhieva, situated at the interface of science, art, and a dose of alchemy. Evolving from her previous work, the project extends her exploration of the relationships between natural elements and their artistic representation, between collecting and exhibiting, between silence and sound.
At the heart of Furnadzhieva’s practice is a persistent act of collecting natural objects—pebbles, leaves, seeds, grasses—a process that goes beyond the initial impulse and evolves into a considered methodology. These carefully selected artefacts, stripped of their natural context, undergo a symbolic transformation. They internalise elements of the landscape and prompt a rethinking of anthropocentric perception. Through their placement in a new context, the objects become narrative centres, unlocking viewer interpretations and opening up new associative fields.
The exhibition not only reveals the artist’s collector’s drive, but also her intrinsic need to share these eclectic collections with the public. These assemblages merge diverse natural and cultural elements, highlighting dynamic tensions between order and chaos, between scientific classification and poetic freedom.
Bilyana Furnadzhieva pushes the boundaries of visual art by integrating acoustic and linguistic components, which emerge intuitively, yet aim for semantic grounding. The exhibition space is approached as a dynamic stage or unfolding narrative, whose entirety is shaped by the dialogue between the artworks, the variability of the environment, and the energy of the audience.
In the process of creation, the artist consciously navigates an inner conflict: the desire to preserve cherished objects versus the necessity of transforming them into “raw material” for new works. The result is a meta-collection of autonomous pieces that expand upon the original findings, generating new layers of meaning.
after nature (chapter 2) invites us to contemplate the delicate connections between nature and human interpretation, between collecting and creating, between the familiar and the imagined. The exhibition is a testament to Bilyana Furnadzhieva’s indefatigable curiosity and her ability to turn personal explorations into universal narratives that provoke dialogue and challenge conventional perspectives.
Despite an initial focus on collecting and categorising, Furnadzhieva increasingly seeks to transform these “personal treasures” into “materials” for new works; drawings, collages, sound installations. This shift marks a release from sentimental attachment to the object, placing creative action at the forefront. The exhibition space—resonating not only with its physical context but also with a quote displayed on the house wall: ‘Art is not ordered. No-one has the right to marshal it – not a historian, not an aesthete, nobody.’ (Nenko Balkanski, April 1977)—becomes a setting for unexpected encounters and conversations. Here, the initial sense of order gives way to the fluidity of perception and interpretation.
after nature (chapter 2) explores the tension between the artist’s inner need to gather and organise the world around her, and the call for freedom of expression and interpretation. Rather than arranging art according to conventional logic, Bilyana Furnadzhieva creates conditions for its ongoing rediscovery, inviting us to see the familiar through the prism of imagination and to uncover new connections between nature, objects and meaning.
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Bilyana Furnadzhieva develops her practice as a visual artist while also serving as artistic director of Crystal Sound Project — a music ensemble focused on cross-genre collaborations.
Her work has been presented at SuperMarket ArtFair (Stockholm), Yun-Chia-Ying Visual Art Link (Taiwan), Hangar 9 (Geneva), and Or Blanc (Château de Vincennes, Paris).
In two consecutive years, Bilyana has been supported by the Chaire Innovation et savoir-faire of the Fondation Bettencourt Schueller and has undertaken a long-term residency at the Cité internationale des arts.
Following regular creative stays, she has developed a connection with the artist residency BKN Björkö Konstnod in the Stockholm Archipelago. Bilyana has been involved in the development of the artist book award Prix Bob Calle de livre d’artiste since its creation in 2017.